Wednesday, June 28, 2017

MAESTRO TRYTONY is a musical undertaking by TOMASZ GWINCINSKI, a composer, improviser, guitarist and drummer, a leading personality of the "Music from Mózg" scene based in Bydgoszcz, Poland. The "Music from Mózg" and its Gdańsk equivalent, the jass scene (MIŁOSC, ŁOSKOT, KURY, TRUPY and other bands) became notorious artists involved in the making of the most creative and original Polish music throughtout the 90s. The evidence of this notoriety can be seen in the approval that the two scenes receive from both the conservative jazz press and the rock media. This results in the growing number of festival presentations: Warsaw's "Jass Jam Nights '96",a satellite of the Polish famous Jazz Jamboree, a "Music from Mózg" Jass block of concerts during the Poznań Jazz Fair Festival' 96 and Cracow's "The Jass Days'96 " all of them filmed for the 2nd program of Polish TV. Unfortunately the music that the both scenes generate is still poorly documented on records because of the malfunctioning of the Polish phonografical market dominated by big foreign corporations. The experimental, creative proceedings of the artists engaged in the both scenes might be compared only to that of the modern New York underground including JOHN ZORN, BILL FRISELL, FRED FRITH, ELLIOT SHARP, DON BYRON or that of the Quebec scene with its RENE LUSSIER, JEAN DEROME, ANDRE DUCHESNE.The Bydgoszcz Mózg (Brain) Club, a base for jass activities, is sometimes called the Polish Knitting Factory. It is the only place in Poland where avant-garde, or improvised music is regularly played, FRED FRITH, RENE LUSSIER, NICK DIDKOVSKY,CHRIS CUTLER, ZEENA PARKINS, JOEY BARON being among the star performers. The original facet of the "Music from Mózg" jass production is its modern classical chamber music overtones, the feature well represented in the music of TOMASZ GWINCINSKI. MAESTRO TRYTONY' s "Enoptronia" is a turning point in the record collection of the scenes. This recording, inspired by jazz noncomformists (JOHN COLTRANE, ALBERT AYLER, ERIC DOLPHY, ORNETTE COLEMAN) as well as rock avant-garde composers (FRED FRITH, CHRIS CUTLER, FRANK ZAPPA), combines improvisation with the modern classical form. Doing so, it retains the rock energy, improvisational freedom and wit, the idiosyncratic features of jass.The recorded music flavors of the Polish soft romantic lyricism so characteristic in the works of KRZYSZTOF KOMEDA. The personnel of MAESTRO TRYTONY consists of both musicians of the two scenes and classically trained performers. The quest star is ANDRZEJ PRZYBIELSKI, nestor of the Polish non-mainstream jazz. TOMASZ GWINCINSKI, the leader and composer for MAESTRO TRYTONY , is an artist appearing in the line-ups of both the "Music from Mózg" and jass bands. Towards the end of the '80 he was a quitarist with the Gdańsk-based MIŁOSC band, today the best Polish acoustic jazz group. Then he founded TRYTONY trio with which he recorded two CDs:" Tańce Bydgoskie" (1993) and "Zarys matematyki niewinnej" (1995) .MAESTRO TRYTONY continues and develops the musical ideas of TRYTONY. GWINCINSKI is also a drummer with the most notorious group from the "Music from Mózg" scene MAZZOLL & ARHYTHMIC PERFECTION . The band released three albums: two of them were issued in 1995 and 1996, the third one is about to come out in 1997. GWINCINSKI and MAZZOLL make improvising duo under a name of "THE VOICE OF THE BLACK HOLE".GWINCINSKI's other projects are TELE ECHO group and the GWINCINSKI- RICHTER- SKOLIK trio, the latter having recorded music material for CD which will be released soon. The chamber music score for a string quartet and an improvising trio written for the "PERE UBU" play performed by the Polish Theatre in Bydgoszcz sets a beginning for the classically oriented composer works from GWINCINSKI.

Saturday, June 24, 2017

Magnificent US Prog band, recording and performing between mid-70's and early 80's.They recorded three albums as far as I am concerned:''Flight'' (1975, Capitol), featuring Pat Vidas on trumpets/vocals, Jim Michael Yaeger on keyboards, John Ray on acoustic & electric basses, Russell Dawber on drums and Ted Karczewski on electric and acoustic guitars, is Progressive/Jazz Rock at its best for sure.Compositions are really fast, complex and intricate, offering tons of adventuruous interplays and a very rich sound.However Flight are not your average band, delivering long improvisated parts or jam sections.The compositions are mainly short with a great developing structure and also featuring often humurous vocals of somekind of late-60's pop style.Vidas presents a wide variety of catchy trumpet parts, supported by great electric piano, Moog synthesizer and a touch of Mellotron and even some fantrastic solos by guitarist Ted Karczewski.The funky bass lines of John Ray try to create a more relaxed atmosphere.But instrumental parts are trully mind-blowing, reminding me of Gentle Giant and actually if you can imagine a cross between Gentle Giant and Nucleus you are very close to Flight's unique sound.Energetic Brass Rock in battle with complicated jazzy Prog with also some hints of classic Prog rock.This band deserves a lot more than this limited fame they earned.A must-have for ages.

Sunday, June 11, 2017

Comprising six songs composed by IB's musical director and keyboard player Mats Johansson and Steve Hogarth, the richly detailed recordings feature tuned percussion, strings, woodwind, brass and voices, and within an integrated suite-like album structure.Both a departure for Steve Hogarth and a stunning return for Isildur's Bane, the album incorporates elements of Rock, traditional music, Jazz and contemporary Classical in one brilliantly unified world.

Sunday, June 4, 2017

Incredible (indeed!) mix of Jazz-Rock, Progressive and Pomp. Truly an obscure masterpiece this one. Keyboards and brass everywhere, totally OTT stuff. Side 2 is a little bit more relaxed. Get this if you can, you will be rewarded ten times the effort of finding it. One last thing: the production work is awesome on this. (Meln) Cd available here|Very low price here

Saturday, June 3, 2017

A lot of works by which musicians who were related to King Crimson participated and formed bands exist. They might always give the listener the expectation and information and be offering the enjoyment to music for the listener. The music that derives from various bands affords us the enjoyment enough as a relation.The listener might have taken delight in music from another angle as diversity of the music that derived from a band active by the item of Prog Rock in the 80's. And, the change and advancement were indeed provided for Prog Rock and other music in the 80's when music accomplished the revolution. Band..age..catch..always..change..grope for.The work by which the musician who was related to King Crimson in the flow as one of the enjoyments participated will be able to discover the fact from which an interesting work is announced as a correlation of music. Music exists as various elements in Music in the 80's in the deriving flow the listener the existence of this project a little valuable. And, the listener might have expected a good chemical reaction for them for the performance of musicians who were related to this project.

This band was a project done by drum player's Dan Maurer and guitar player's Jim Juhn. To start this project, they appointed David Cross and Keith Tippett. Dan Maurer and Jim Juhn showed deference to King Crimson. And, the listener might have [me]ed it to the only work by these four people the zeal of music by the shadow and the derivation of King Crimson in the period. Music by this member might have had the approval or disapproval at that time when the age of 1987 was considered. Appointment of age when this work was announced and David Cross to retire from performance almost. And, they might have created music of participated by the musician who derived from King Crimson not feeling them for a fact quite new. This album left the name as valuable music with an experimental element and relations as shape of the band that belonged exactly in the age. There is little shadow of King Crimson though David Cross and Keith Tippett participate in this album. It is music that should catch as one of the deriving music in close relation to the age. And, this project is a work of which the color of Dan Maurer and Jim Juhn has gone out strongly.

The Album

In "Sybilization", the atmosphere of the violin that flows in a piano flow and the space with the anacatesthesia is a feature. The tension is continued and it advances slowly. A glossy melody continues. "Fourth Dimension" uses the rhythm of seven in the basis. The melody of the violin in close relation to the arpeggio of a beautiful guitar gives the listener a beautiful anacatesthesia and a peculiar impression. Such music might be an original music exactly character by this project. A complex melody starts from "Baptism by Fire" in the form of fade In. A basic rhythm of the theme takes the rhythm of five. The wind instrument twines from the melody with the tension and the tune advances while shifting in the form of Free Jazz. The tension continues. "Poolside" starts with heavy atmosphere. DX7 of Eric Drew Feldman that participates in the recording of the album contributes in this tune. Atmosphere advances with heavy feeling. The element of the improvisation might be strong. "Abstract Blue" shifts to the flow with the improvisation from the theme with unique a little at once. This tune might be strongly colored by Improvisation. Feeling advanced of the band in union keeps originality. The tune gradually becomes intense and twines round another theme. The development of this part has succeeded splendidly. The end of the tune returns to the theme of the start. "Moronathon" has the start of which the rhythm of the percussion instrument goes out ahead in the narration. The line of constant Bass is continued and the tension is kept. The rhythm is important in this tune. In "Amnesia", originality and the anacatesthesia might be strong tunes in the tune of this album. The part where the sound of the flute twined round the composition of an intermittent rhythm originally of Bass will be reminiscent of an Oriental melody. And, the part where the theme is not felt while continuing a constant rhythm is emphasized and it advances. It might be a tune that remarkably exactly showed the age when the sound etc. of the machine parts used for the age and the tune are considered."Reflection" starts from a beautiful piano melody where the DeLay effect hangs. The anacatesthesia is continued and it shifts to the part where uneasiness is called. It advances as the part of Free Jazz twining round an experimental element. The violin contributes to the tune. The state that Improvisation goes out strongly is continued and the tune advances. "What Did You Do" has a different theme in the tune of this album. As for the flow with a complex melody and ensemble in the element of Funk, the part of Fusion might be a little strong. However, the atmosphere of the tune that the band does is consistent. "Radically Conservative" starts in the shape connected from the part of Coda of "What Did You Do". The melody that there is an anacatesthesia in the rhythm that looks like the Afro music has good atmosphere. The wind instrument twines intermittently while continuing the rhythm. Suitably to the tune that decorates the end as the entire flow of the album. mightThis consistent music develops the music character to reflect the times exactly as the only project that they left. And, it is possible to talk about the performance and four ideas that did as a part with originality. progarchive